The Filters consist of full-bandwidth and region-targeted low-and high-pass filters, and two Noise filters, for removing all frequencies below or above the amplitude specified by the Amount slider. Happily, the effects themselves are excellent, and with three of them available at a time, each covering its own discrete frequency range, there’s endless scope for combining them. The Step Sequencer is the highlight, though, running synced to tempo or free, with up to 16 steps and Slew control for adjustable smoothness. The Macro control does double duty as a straightforward offset knob for targeted parameters and a modulation summing bus for routing multiple modulators. The envelope follower features variable smoothing and the S+H Noise module includes Phase and Slew controls for detailed shaping of the output. The LFO comes in Sine, Saw/Tri and Square variants, and runs at up to 20Hz, synced or unsynced. Modulators can even be assigned to modulate each other and/or themselves. Routing modulators to target controls is done by dragging virtual patch cords between input and output ports, and there’s no limit to the number of outputs each modulator can serve or connections that can be made to or from any given port. The pop-out Modulation panel houses up to six modulators, each configurable as an LFO, an envelope follower, a sample-and-hold generator, a step sequencer, a macro knob, or an input receiver for Roli’s Lightpad hardware controller. SpecOps’ amazing modulation setup lets you animate every control within the plugin, for rhythmic and dynamic changes over time.
Alas, these are just cosmetic - you can’t edit the ranges directly with them. The first two are represented visually in the display by colour- coded vertical lines, with what appear to be draggable handles at the bottom. The frequency range covered by each effect is established using the Start and Width sliders (moving the former shifts the whole range up and down), while the depth is set by the Amount slider. Having tailored the processing spectrum of the signal with the Analysis and Geometry sections, attention turns to SpecOps’ main event: the three multieffects slots, into each of which one of 36 spectral processing algorithms can be loaded. The Stretch knob compresses and expands the distribution of the bins for an alternative, grungier style of tonal shifting.
The Pitch Shift knob dials in up to 12 semitones of pitch shifting (ie, maintaining the harmonic integrity of the sound) in either direction, while Slide delivers a far greater range of ‘inharmonic’ frequency shift, raising and lowering all bins in a linear fashion, all the way to the very top or bottom of the audible range at either extreme. The next stage of processing is the Geometry section.
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